10 Questions with ... Sam Weaver

BRIEF CAREER SYNOPSIS:

Beginning my radio-talent coach business for traditional radio, podcasters and Internet radio owners and personalities. One of my clients does radio in the Netherlands ... thank God for Skype!

I have been in the business for over 30 years as a programmer and air talent; worked every format except 24-hour News and Talk. Markets worked: Chicago, San Francisco, St. Louis, Detroit, Pittsburgh, Kansas City, Greensboro and Dallas. While working in Chicago, taught for four years in the broadcast department at Columbia College.

1) Where and what was your first job in radio? Early influences?

The first paid commercial radio job was during my second year of college at the News/Talk/Sports and some music station.

Here is list of all my influences by category:

• PDs: Charlie Lake, Jerry Boulding, Buzz Bennett, Lee Logan, Joel Denver, Tony Gray, Ken Dowe, Quincy McCoy, Jerry Clifton and Bill Bailey
• GMs: Chuck Scruggs, Drew Horowitz, Nancy Cooper, and Charles Mootry
• Owners: John H. Johnson, Mrs. Mildred Carter, Skip Finely, Mike Carter and Reese Poag.
• Morning personalities; BJ Murphy, Tom Joyner, Dr. Don, Donnie Simpson, Jeff Fox, Scott Shannon, AC Williams, Larry Lujack and the Deadly Dr. Bobby Brown
• Non-morning personalities: Jo Jo Kincaid, Ernie C, Bill Lee, Ron Chavis, Yvonne Daniels, Bob Uecker, Chuck Geiger, Johnny Rabbit and Kitty Neely.
• Production Directors: Terry Fox, Jerry Vigil, and Pat Garrett.
• Promotions Directors: Rich McCauley
• Music Directors: Myron Fears and Art Goewy
• Business Managers: Maureen Furlong
• Sales Managers: Bart Horton and Vic Dyson
• Radio Icons: Frankie Crocker and Dick Clark

Influences on Radio Thought Process: Richard Nixon, Phil Jackson, Malcolm X, Lyndon B. Johnson, Dr. Martin Luther King, my grandfather, George Steinbrenner, Harry Carey, Richard Pryor, Red Foxx, ee cummings, George Carlin, Flip Wilson, Bill Veeck, John Wooden, Dave Chappelle, Johnny Carson, Eddie Holland, Vernal Beckman (8th grade speech teacher)

2) What were the most influential radio station(s) growing up?

KMOX (community Service/Sports), KXOK (Top 40), KATZ (Urban), KSHE (AOR).

3) If you were just starting out in radio, knowing now what you didn't then, would you still do it?

Yes, but in addition I would pursue a career in journalism.

4) What stations pre-sets are in your car right now?

Nothing is pre-set, I am pretty much an ESPN listener. However, I will move around the dial and checkout music; from DJ Khaled to Miranda Lambert and every format in between.

5) How do you prefer to be promoted on new records? And how do you feel about waiting on a record you hear until the research validates it?

Being a radio-talent coach, I do not have to worry about that. These days, I spend my time listening to demos of current and future clients. However, it is hard for me to pass up an opportunity to discuss the process of adding music.

Keep your eyes and ears glued to YouTube, Facebook, MySpace, mix tapes and all social media for music trends. Also question interns and on-staff clubbers for clues to what is or might become hot. Weekly callout music hook research is great, but human interpretation can cause problems. Most programmers are looking for what the majority of the target audience can agree with. None of us would accept a stockbroker purchasing a stock for our portfolio on an un-researched whim; the same holds true for adding music. There has to be timely verifiable justification.

On the topic of new music, my favorite argument: "How is it going to become known or a hit if you do not play it?" I would always say, "I will start adding every song that comes to me the same day record and production companies begin signing every artist wanting a deal." Enough said. Music companies have to make choices and so do radio stations; each has a set of guidelines. The key phrase is music business!

6) What are your thoughts on today's syndication? What would make it better and more effective? Do you seeing growing, staying the same or diminishing?

There are not enough compatible three or four-hour daily shows to meet broadcast industry needs. Too many stations air daily syndication not synced with their format. The smart operators only accept the voicetracks, customize, and edit in the stations music. However, the intellectually challenged merely regurgitate the content coming from the syndication broadcast controls. To be fair, many no longer have the man-power to customize; it takes a few hours.

When financial institutions begin to make cash readily available again, syndicators and broadcasters will be able to invest in talent for more entertainment radio shows; it will probably be a combination of veteran radio talent and show business personalities.

7) With all the voicetracking, syndication and shift stretching, how and where are future broadcasters going to go to learn the craft? And when the current generation passes on, will they be ready?

Future broadcasters will learn their craft on "stand-alone" Internet radio. At no cost, individuals can currently have a show on the web; two companies come to mind -- Live 365 and Loud City. With some mentoring from traditional radio veterans, future personalities will be able to carry the torch.

8) You wrote an editorial recently in which you talked about the future of radio and the things that have changed and how younger listeners have many media choice. In order to be one of them, what do we as broadcasters have to do?

The "Y" generation has grown up with computers, blogs, podcasts, MySpace, Blackberrys, Twitter, Macs, chat rooms, P2Ps, YouTube, iPhones, iTunes, LinkedIn, iPads, I-Phones and Facebook. Radio is used as a last resort. Instead of a new music fad, the Y Generation received new audio and communication delivery systems. This group has to be convinced to sample the product. An old and new media link would go a long way in appealing to this generation. Ys represent radio's version of "Custer's Last Stand" ... and will be the determining factor for the fate and future of the industry.

"Z" generation will probably use traditional radio as a paperweight and only listen if the X and Y parents expose them to it.

Solution: Branding and New Thinking. It is time for a new way of thinking, using new media to brand traditional radio. For the younger X and the entire Y Generation, instead of regurgitating the radio station, program the online station independently to reflect the actual tastes of the consumers. Forget the formulas; monitor the web downloads, scour MySpace and YouTube, and hire the Y Generation to be the personalities.

To handle programming, rehire experienced PDs. Knowing the rules makes it easier to break them. However, while the new revolution is going on, put a tab on the site for the traditional radio signal; there will sampling.

Treat the online station as an underground cool thing, like the early days of FM back in the late '60s and early '70s. Expand the musical format boundaries and realize music is the driving force. It is job of the air personality to highlight, energize and add something special to each moment. This approach would fit right in with iPods, mp3s and cell phones used by the Y Generation. Such a move could increase station value, brand name recognition, and open new doors for advertising. Something else of importance: On-\line stations should not mirror the long commercial breaks of traditional radio.

9) What do you see as the biggest challenge facing today's Urban broadcasters? How do you suggest we get ready for what's about to hit us?

The solution to this question lies in the answer to number 8.

10) As you look back over your career ... any regrets? Missed opportunities?

Some of both, but rest assured I will not miss out on the opportunity lying ahead with the merging of old and new media. Tradition is forever changing, but I am heading for "The gold in them thar hills" because there are so many new windows of opportunity. Being a radio talent coach lends itself to my passion of dispersing information, teaching, writing and making a living. By the way, my web site is http:radiocoach.biz/main.html

What would people who think they know Sam Weaver be surprised to know about you?

That I see radio's relationship with the consumer as a combination of politics, sports and basic human want and need. Writing is my first love A contemporary music radio career was a fluke. Sports play-by-play was my second love; I grew up listening to Jack Buck and Harry Caray. My first professional paycheck was for play-by-play of a high school basketball game.

Four years prior to the first successful daily show prep service, I had attempted to convince a couple of syndicators on the idea.

A "well-known" -- now out of business -- trade magazine once made a verbal commitment to hire me as one of its section editors, but when the subject of few more base dollars came into play, suddenly the calls concerning an arrival date disappeared.

Type in radio talent coach on Google, and I occupy four or five of the positions in the top 15.

That I have clients in a variety of formats -- Country, Classic Rock, Urban, Urban AC and Sports radio. My roster also includes some independent Internet radio owners and personalities.

I respect the unique special talent that each person possesses on the unconscious level.

What's been your biggest disappointment in Radio today?

The apparent misunderstanding of the product and what it means to the consumer. All radio people are not created equal; some are creative and currently too many are merely functional due to the climate surrounding the industry.

How do you feel about Arbitron's PPM eventually replacing the diary?

PPM is a research tool disguised as a method of measurement, but the future is now. Since they have finally committed to increasing the sample size of the panels and adapting the person-to-person methodology still applied in the original test city of Houston, accreditation and more plausible share numbers should result. I still do not understand why Arbitron insists on using the term person-to-person instead of door-to-door.

The cell phone-only household is still a sticking point because it is so difficult to build a data base. I truly believe this is actually the real reason for the adoption of the person-to-person methodology for all PPM markets. Finding those cell-only homes will become easier.

At some point in the future, Arbitron and other ratings companies will become iPhone applications along with all forms of organized audio; PPM will then become compatible with consumer audio usage.

How important are marketing and contesting to a station's overall success?

Regardless of the rating method applied, stations need to always be "top-of-mind awareness" and bigger than life to the listener. Therefore if it can be budgeted; spend whatever it takes to reach ratings goals.

How important are websites to rating success?

Technology Marriage: The majorities of traditional radio sites are cookie-cutter and negotiated through third parties in exchange for commercial airtime. Companies contracted for such deals usually apply dated templates to build the site, serve as web host administrator, and utilize independent contractors to maintain the site. Other than someone in promotions or a designate affiliated with programming, many stations do not have control of their web properties. However, most web hosts are beginning to offer content management systems (CMS) permitting stations to edit content without third-party presence; technical support for questions is provided.

Another problem: Similar to many on-air presentations, most sites currently have too much clutter. It is good to see radio operators grasp Internet radio streaming and podcasting, but most do not fully comprehend actual consumer desires in these areas. Stations use the new portals to mirror their transmitted on-air content, music, contesting, music videos (some local artists), concert announcements, community service, station events, requests,and podcasts.

Stations are correct in theory, but wrong in application. Consumers want to be involved in the new media world. Radio needs to look at itself as a social network community, consisting of the traditional station and the web with various social platform applications. The "It's all my media" approach will lead to higher ratings and increased profits.

The modern-day entertainment center is the cell phone; it's rapidly becoming the most important communication source in the world. Mobile phone apps will eventually replace much of the lifestyle hardware in electronic stores -- TVs, alarm clocks, cameras, stereos, landline phones, watches, radios and calculators. With the advent of Internet availability in cars, the world is becoming more mobile than it has ever been.